Jerry Saltz
Jerry Saltz
Jerry Saltzis an American art critic. Since 2006, he has been senior art critic and columnist for New York magazine. Formerly the senior art critic for The Village Voice, he has been nominated for the Pulitzer Prize in Criticism three times. He has also served as a visiting critic at The School of Visual Arts, Columbia University, Yale University, and The School of the Art Institute of Chicago and the New York Studio Residency Program, and was the sole advisor...
NationalityAmerican
ProfessionJournalist
Date of Birth19 March 1951
CountryUnited States of America
I know it's dangerous to take on bloggers. They can go after you every day, all day long, and anonymous people can chime in, too.
I like that the art world isn't regulated.
I rage against Vincent van Gogh for needing to die at 37, after painting for only ten years.
I'm not for or against video - or any medium or style, for that matter.
I've always said that an art critic can put aside politics around art.
In 1998, Artnet was the site that convinced me that if my writing didn't exist online, it didn't exist at all. It showed me criticism's future.
Giant group events are distorting organisms: You can like and hate them in rapid succession.
Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.
The style of ancient Egyptian art is transcendently clear, something 8-year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art, one that lasts 30 dynasties spread over 3,000 years.
A lot of people still think caring about clothes is a dubious, unserious, frivolous, girlie thing.
You can't prove Rembrandt is better than Norman Rockwell - although if you actually do prefer Rockwell, I'd say you were shunning complexity, were secretly conservative, and hadn't really looked at either painter's work. Taste is a blood sport.
All art comes from other art, and all immigrants come from other places.
Almost all institutions own a lot more art than they can ever show, much of it revealing for its timeliness, genius, or sheer weirdness.
Among living artists, George Condo may be the most embraced by the powers that be.